By Dave Swanson - Summit FM Contributor

Tattoos, piercings, heroin, dreads, distorted drum machines, noisy guitars, a gallon of angst and dirt all made up the Ministry that wandered out of the Lollapalooza Generation. But in the beginning, there was a "kinder, gentler" Ministry, much more in tune with the synth-pop sounds of the early ’80s. In fact, that's when their debut album, With Sympathy, was released—1983, to be exact. After many years of poking fun at and ignoring this first step, band leader Al Jourgensen has finally embraced his “controversial” debut LP.

It's a different animal altogether from later dark entries like The Land of Rape and Honey and A Mind Is a Terrible Thing to Taste, but as a jumping-off point, it worked—and still works. In fact, I'd wager that it holds up better all these years later than some of the angry stuff!

Far from being a hit, it was one of many synth-driven bands and records of the time. This was prime time for Bronski Beat, Ultravox (phase 2), Depeche Mode (already off and running), and of course chart successes like The Human League, Thomas Dolby, and A Flock of Seagulls. It was “the future now,” so to speak.

Ministry threw their hat in the ring with other hopefuls and actually came up with an interesting take on synth-driven pop that also mixed in funk rhythms, urban landscapes, and slight nods to rap—with a production style that was far less British than many were aiming for at that time. In fact, 40+ years later, it stands as not only a brave move by a new band, but one that sounds less dated than many others from the era.

“Work for Love” and “Revenge” were big college radio hits that also found their way to dance clubs via the almighty 12" singles and dance mixes so popular at the time. While lighter in tone than the aforementioned later albums, it still chugs along with an anger of its own. Tracks like “Here We Go” and “Effigy” realize that side of the band, while “What He Say” almost sounds like a pissed-off Tom Tom Club. “Should Have Known Better” and “Say You’re Sorry” hold down the more expected sounds of 1983, but never in a generic way.

Jourgensen would move away from the pop leanings with each successive release. The next album, 1986’s Twitch, along with a handful of 12" singles, landed the band where they were destined to be, and by the time of The Land of Rape and Honey in 1988, they were all but unrecognizable from their debut.

Finally, the dust has settled, and With Sympathy can be seen for what it was—not a misstep at all, but a unique slice of synth-pop that not only holds its own with others of the day, but rises above most of them. Dance on, kids—dance on!

By Dave Swanson - Summit FM Contributor

It didn't take long for Paul Westerberg to prove he was more than a drunk punk. From those very first Replacements records, songs like “Kids Don’t Follow,” “I’m in Trouble,” and “Color Me Impressed” all showed the guy knew how to write a good song. By 1984's Let It Be, the high praise was being tossed around at every turn over the likes of “I Will Dare,” “Unsatisfied,” and “Sixteen Blue.”

Soon after, the major labels came calling, and it seemed the Replacements were going to hit the big time. What turned out, in part, to be a career full of self-sabotaging, Westerberg and company had other things in mind. After signing with Sire Records and releasing the album Tim, things were looking up and our guys were invited to Saturday Night Live. Now, first off, let me say it is probably one of the greatest SNL music spots ever. Second, for anyone who has seen the Nirvana appearance from a few years later and thinks that is the be-all, end-all of ramshackle middle finger to the machine—do yourself a favor and search out the 1986 Replacements clip. It's a chaotic mess in the best way—raw and rev’d up without a care in the world. They were scolded for not “playing the game,” and let's just say, were not frequent visitors.

A couple more albums would follow before the band fell apart in an alcoholic identity crisis. Critics and fans had been heaping praise upon Westerberg in particular as the next great songwriter. Upon going solo, he focused more on that task of songwriting with the album 14 Songs in 1993—ironically at a time when the raw rock and roll of the Replacements could have been more at home. However, Westerberg was off and running in another direction, focusing on the song. 1996 would bring album #2, Eventually, which featured Paul playing a myriad of instruments and trying on a variety of styles.

From the folk pop of opener “These Are the Days,” it was clear he was more focused than ever. “You've Had It With You” harkens back to the more ragged Replacements vibe, while “MamaDaddyDid” and “Once Around the Weekend” were somewhat paint-by-numbers alt-pop for the era—radio-friendly pop songs, perfect for a soundtrack near you. “Time Flies Tomorrow” is a beautiful song that ends the album in high style.

The album is full of these mid-tempo, melody-driven adult pop songs that, while fine, fail to really catch fire at first. But listen upon listen shows the layers underneath. A half dozen albums later, and he’s been pretty quiet ever since. Oh Paul, where'd ya go!?

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By Dave Swanson - Summit FM Contributor

The Bangles were, in many ways, a textbook example of a great rock and roll band who got sucked into the corporate system and drained of all that made them so special.

Following the death of John Lennon in December of 1980, guitarist Vicki Peterson became fast friends with guitarist Susanna Hoffs, bonding over their love of all things Beatles, Byrds, and Buffalo Springfield—and pop music of the 1960s in general. Vicki's sister Debbie played drums, and the trio began working on songs and, in short order, headed into the recording studio to record their debut single in 1981. A lawsuit prompted the name change to the Bangles as the trio added bassist Annette Zilinskas. After some heavy local airplay, they signed with I.R.S./Faulty Products—at the time home to everyone from R.E.M. to Dead Kennedys.

A five-song EP was issued, which introduced them to the world outside Los Angeles. It caught on quickly, capturing fans with their mixture of pop, folk, and garage rock—all with beautiful Mamas (no Papas) harmonies full of sunshine. Columbia Records came calling and signed the band, releasing their debut album, All Over the Place, in the spring of 1984. College radio was highly supportive, and soon MTV caught on. By the time they headed back in to record album number two, Columbia considered there could be more here for the masses.

By this time, the Bangles had also gained a big fan in Prince, who took notice and wrote them a song. Manic Mondaywas a huge hit, narrowly missing the top of the charts. The follow-up, Walk Like an Egyptian, would hit that coveted spot and propel that album, Different Light, into big numbers. The problem—if you wish to consider it one—was that neither of those songs were band compositions and were produced in a generic, radio-friendly style. I'm not putting down success, but they had little or nothing to do with what the band was all about. Their image was also altered, and the media focused on the beauty of Miss Hoffs.

Time for album number three, and the label wants more of the same—high-gloss, shiny pop songs, power ballads, direct from that ’80s pop plan. Prior to the new LP, the band released a single from the Less Than Zero soundtrack: a cover of the Simon & Garfunkel classic Hazy Shade of Winter, which not only made it to #2, but it rocked! The guitars were loud, the harmonies were front and center. This was a good sign!

Released in the fall of 1988, Everything was a mishmash of the band trying to break through from under the cellophane while still satisfying the powers that were. The first single, In My Room, had a vague ’60s vibe under its ’80s blanket, while the number-one hit Eternal Flame was a pure “lighters-in-the-air, swaying-side-to-side” power ballad. Most of the album was co-written by band members with outside writers—everyone from former Kiss member Vinnie Vincent to Stiff Records alum (and Akron native) Rachel Sweet.

That's not to say it’s all bad—there are some genuinely good songs here. Complicated Girl, written by bassist Michael Steele, is a jangly gem despite its gloss, while Bell Jar, written by the Peterson sisters, is a great rocker! Hoffs’ I’ll Set You Free is a good folk/pop tune, slightly hampered somewhat by the production. Vicki and Susanna team up for the all-out rocker Watching the Sky, a surprise with its Led Zep-styled riff at the center of the song. Some Dreams Come True, from Debbi Peterson, is a driving pop song, while the Rachel Sweet–aided Crash and Burn recaptures a bit of their garage roots.

The highlight here has to be Glitter Years, another from Steele. Guitars chime as she sings about lost days on the Sunset Strip in the mid-’70s, with references to the original glitter era, Rodney’s English Disco, Bowie, and so on. This is where they should have been. It’s a killer! I guess what this tells me—and my ears—after all these years is, the ladies didn’t need outside help. They were doing just fine. Of course, the hits bring in the money, pay the bills—and I’m all for that—but it’s a high price to pay for one’s identity.

Ultimately, Everything shows a band trying to find their identity in an era where it was all getting lost in corporate sludge. Of course, it’s far worse now and has been for years, but the Bangles were truly special—and as a fan, it was sad to see them get swallowed up by the machine, then spat out when they no longer “fit the suit” (Johnny Bravo reference). It may have been a step up artistically from Different Light, but not good enough for the suits, as it “only” made number 15.

It reminds me of that quote—often mistakenly credited to Hunter S. Thompson: “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”

By Sarah Swirsky, MSW, LISW

Here’s some fascinating news for music lovers: going to concerts regularly might actually help you live longer.

A study led by behavioral science expert Patrick Fagan (in collaboration with O2) suggests that attending live music events every two weeks can boost your sense of well-being by 21%. That includes a 25% rise in feelings of self-worth and connection with others, plus a 75% increase in mental stimulation. Even more intriguing? These boosts are linked to a potential increase in life expectancy — possibly adding up to nine extra years.

Adding to the surprising health perks, live music benefits go well beyond a temporary mood lift. In fact, that 21% jump in well-being outperforms other common activities like yoga (+10%) and dog-walking (+7%) — even with just 20 minutes at a show every couple of weeks. Concerts also lower cortisol, the body’s primary stress hormone, and increase dopamine, creating a meaningful emotional high that’s both mentally and physically restorative. On top of that, researchers have found that regularly participating in cultural events like concerts can build stronger social bonds, improve heart health, and even reduce healthcare costs over time.

While the study hasn’t been peer-reviewed or published in a scientific journal, it offers an interesting perspective on the positive effects of live music. The shared experience, the emotional highs, and the sense of belonging that concerts create all seem to play a meaningful role in mental and emotional health.

At The Summit FM, we know music’s value goes far beyond entertainment. Whether you’re in the front row or enjoying a small local show, the benefits of live music are worth paying attention to — for your well-being today and for the years ahead.

By Dave Swanson - Summit FM Contributor

From where I stand, the less definable, the better, especially when it comes to music. When you hear one verse or half a chorus and you can already feel the bridge, you're all set to slap a label on it to define what section in the record store — um, do they still have record stores? How about what section on "Spotty Fries" it's filed under. If there's nothing more to an artist than gluing all the right pieces in the right place, then it's ultimately kind of a boring pursuit. Keep the listener guessing, keep them smiling, and wondering what is around the next corner.

"There are all sorts of movements, and people ask me if I'm part of one," Amos Lee told No Depression. "No; that means nothing to me, but it's fine if they want shorthand. I know how the game is played."

'Tis true that most people do appreciate a simple filing system and Amos Lee is often squeezed into the "Americana" section, but truth be told, there's more to his cookie than just chips. One listen to his highly regarded debut from 2005 will tell you that.

"The worst thing for an artist to have done to you," he continued, "is to be tagged as something, or not something, or for a human being to be, for that matter — unless you want to do it for yourself."

The self-titled album was released on legendary jazz label Blue Note, but it's not a jazz album. That being said, there are jazz undertones at play here and there, right alongside a nod to soul, folk and pop. The album is a fully realized vision of Lee's style. Though it was a modest start, it wasn't lost on some famous fans like Norah Jones, who plays piano on the album, while none other than Bob Dylan took him on tour.

His style has been referred to as "country-fried soul," which is a pretty good term as far as labels go. His songs, such as the beautiful "Seen It All Before" and "Colors," are earthy and haunting and miles away from any pose. The stark beauty of "Black River" raises the stakes, and though his love of vintage artists like Stevie Wonder and Bill Withers shines through, he never seems to get stuck in some retro vibe. It just all plays out naturally and less studied than so much of what passes for "authentic" in the music world.

Lee has released 11 albums over the past two decades, but something about his debut still rings loud. Check it out!

By Dave Swanson - Summit FM Contributor

Some bands, it seems, make far too many albums — even worse in the CD era, when artists felt the need to fill up 79-plus minutes with their, um, art. Other bands, by design or happenstance, make one signature collection of songs and, to quote the ever-present George Costanza, “go out on a high note.”

A few that spring to mind over the decades include Blind Faith, a supergroup that featured Eric Clapton and Ginger Baker of Cream, Steve Winwood of Traffic and the Spencer Davis Group, and Ric Grech of Family. Though it was a moment in time for these friends to put a combo together, it was most likely a product of the era — and perhaps never meant to last past two sides of an LP.

On the other end of the line, we find the Sex Pistols — one of the most influential and significant bands of all time — who made only one album and a few singles. The internal combustion factor, the media, and a sort of planned obsolescence were all to blame for their one-and-done. Plus, they pretty much said everything they needed to say with that one eternal LP.

There were others — some radiant in their success, others, like Toy Matinee, glowing in their obscurity. Session players Guy Pratt (bass) and Patrick Leonard (keyboards) joined forces to work on some songs and suddenly, they had a band. Joined by fellow session players — multi-instrumentalist Kevin Gilbert, drummer Brian MacLeod, and guitarist Tim Pierce — Toy Matinee was born in 1988.

With a sound somewhat defined by that era, the band featured a glossy, radio-ready brand of sophisticated pop — somewhere between the sky-bound hills of Steely Dan and the shiny pop of Crowded House. Songs like “Last Plane Out” and “The Ballad of Jenny Ledge” were pushed at radio to no avail. It was quickly considered dead in the water by the record label, Warner/Reprise, and the plug was pulled.

Perhaps a decade earlier, or a decade later, they may have had better luck. But their slick, glossy “adult” sound couldn’t have been more out of step in a world about to explode with grunge, hip-hop, alternative, and so on. There are some who did hear the album who still hold it fondly within their music collection. There are far more who have never heard the thing!

Every musical cycle, trend, whim, or movement has boxloads of lost, forgotten or — more to the point — never-heard albums. Perhaps we’ll begin to feature more of those, thus expanding the definition of “essential” along the way.

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

When the Byrds burst upon the music world in the summer of 1965, it was a sound of freshness, of a new direction, a new future that would last far longer than any trend of the day known as “folk rock.” With folk music as their roots, the members of the Byrds were well schooled in that tradition, but like most young musicians of the era, were equally gazing into the future, and taking a hard look at the present to see where they could go. Pop music was on a jet‑fueled path to wherever an artist wanted to take it, or so it seemed.

The two obvious planets that collided to help the Byrds become the Byrds were the arrival of the Beatles on U.S. shores in 1964, and the arrival of Bob Dylan into their universe. By merging elements of these two worlds, Roger McGuinn, David Crosby, Gene Clark, Chris Hillman and Michael Clarke would create their own sound, made up of ingredients from both, and that sound they created would go on to influence and inspire countless other musicians for decades to come.

The Byrds released their interpretation of Dylan’s poetic masterpiece, “Mr. Tambourine Man,” in the spring of 1965 to unanimous love that pushed the single to No. 1 in short order. “Folk rock” may have seemed a passing fad at the time. The number of folkies who suddenly plugged in, or the beat groups who rapidly became interested in lyrical content and ideas beyond boy meets girl, was mammoth. From the Turtles and Sonny & Cher to the Mamas & the Papas and Buffalo Springfield, a jingle‑jangle morning had risen everywhere. Dylan himself had already “gone electric” a few months earlier with the landmark “Subterranean Homesick Blues,” but this Byrds take on a classic Dylan was simply pop perfection, and the world took notice.

The Byrds were hardly a one‑trick pony, as that debut LP was crammed full of brilliant songs penned mostly by singer Gene Clark, along with some help from Roger (Jim) McGuinn. Suddenly the Byrds were thrust into the spotlight and Columbia Records wanted more, so the band headed back into the recording studio at the end of summer 1965 to nail down their follow‑up.

Completed in around two months and released in November, “Turn! Turn! Turn!” picked up where “Mr. Tambourine Man” left off, with the band continuing down that folk‑rock path, merging traditional with the new. A couple more Dylan songs, a couple traditional folk standards re‑arranged Byrds style and more from Clark and McGuinn—the album is less focused than its predecessor, but still totally captivating. The single “Turn! Turn! Turn!” was based on a Pete Seeger arrangement of the folk standard with text in the Book of Ecclesiastes. McGuinn came up with the arrangement and suddenly, it was a Byrds song! As it became a modern‑day folk‑rock classic, it scored the Byrds another No. 1 single.

“It Won't Be Wrong” and “The World Turns All Around Her” were two more instant Byrds classics. Another Gene Clark gem, “She Don’t Care About Time,” was left off the album but was issued as a non‑LP single that fall. The LP hit No. 17 in the U.S. and No. 11 in England. Within two years, with various line‑up changes, the band was barely recognizable from their 1965 incarnation, while their sound and style continued to evolve and change.

The Byrds are, in my opinion, one of the most significant bands of all time, and as I write this in 2025, they seem all but forgotten. Their influence and inspiration can be directly traced to bands like R.E.M., Wilco, the Lemon Twigs and countless others. The entire “jangle rock” world of the early 1980s was built on Byrds riffs, while their country phase with Gram Parsons was ground zero for all that became “Americana.”

Any of the first five Byrds albums is a good place to start your listening adventure—just do yourself a favor, and don’t forget the Byrds!!

By Chad Miller - Summit FM Music Director

Our latest Summit Sounding Board gathering at the Varsity Club in Youngstown delivered another fantastic evening of musical discovery, and now the results are officially tallied! Summit members came together to rate and rank a diverse collection of tracks, and every single vote counted in determining our final rankings.

For those who missed this member-exclusive event, you missed out on some serious musical gems – but don't worry, our next Sounding Board is coming in July, and we want to see you there! These listening parties are one of the fantastic perks of Summit membership, giving our community a chance to discover new music together and help shape what gets added to our rotation.

The Final Rankings

Here's how the dozen tracks scored, ranked from highest to lowest average rating:

1. S.G. Goodman - "Fire Sign" (7.848)
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2. Durand Jones & the Indications - "Flower Moon" (7.531)
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3. The Beths - "Metal" (7.454)
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4. Chaparelle - "Inside the Lines" (7.454)
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5. Turnstile - "Never Enough" (7.379)
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6. Wednesday - "Elderberry Wine" (7.000)
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7. Esther Rose - "New Bad" (6.788)
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8. Stereolab - "Aerial Troubles" (6.393)
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9. Kathleen Edwards - "Save Your Soul" (6.379)
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10. OK Go - "Love" (6.359)
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11. Molly Tuttle - "That's Gonna Leave a Mark" (5.303)
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12. Big Thief - "Incomprehensible" (4.727)
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What's Next?

S.G. Goodman's "Fire Sign" took the crown with an impressive 7.848 average score, followed closely by the soulful sounds of Durand Jones & the Indications with "Flower Moon." The diversity of genres represented – from indie rock to electronic to country – showcased exactly what makes our Summit community so special.

These results help guide our programming decisions and give us insight into what resonates with our listeners. More importantly, they represent the collective voice of our Summit family coming together to celebrate great music.

Don't forget to mark your calendars for our next Sounding Board in July! As a Summit member, this is your chance to be part of the conversation and help shape the sound of our station. We can't wait to see what musical discoveries await us next month.

Keep listening, keep discovering, and keep being part of what makes The Summit FM so unique.

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Missed this Sounding Board? Make sure you're signed up for our member benefits and join us for the next one! Click here for more information about becoming a Summit member.